Netmage 11, an international live media festival which takes place in January 2011 in Bologna, Italy, is seeking applications for their live media floor. The main section of their program, the live media floor is a platform for "generating and/or mixing images and sound of every type and format." Download the application here. Deadline is September 20, 2010.
The Nam June Paik Center is dedicated to the artistic and intellectual legacy of Nam June Paik, the renowned Korean-born artist who transformed visual art worldwide. In addition to its function as an exhibition space, the Nam June Paik Art Center developed a new publication, NJP Reader. The aim of the NJP Reader is to recontextualize Nam June Paik’s artistic thought and his ‘random access’ strategies in a topical discursive practice. Leading questions are: What is the meaning of Nam June Paik’s multi-medial experiments, performances, and sculpture for our current artistic practice and discourse? What new dimensions for re-imagining notions of technology, ubiquity, and human experience do Nam June Paik’s thinking and practice suggest? How does his practice potentiate paradigm shifts in broader understandings of the potentialities and characteristics of alternative processes of participation afforded by the introduction of media technology into artistic practice?
Obviously, Nam June Paik’s work requires a conceptual framework that goes beyond an art historical narrative. Therefore, for Issue #1, NJP Reader conducts an inquiry into the novel concept of artistic anthropology in art discourse as an invitation to produce new conceptual systems. The NJP Reader intends to be an open platform for generating novel ideas, connections and concepts (this intention is also reflected in choosing to use Nam June Paik’s initials for its title, rather than his full name). To this aim, the first edition of the NJP Reader is based on a questionnaire that as many artists and intellectuals as possible were invited to contribute responses to. Through this conceptual inquiry the NJP Reader hopes to help in creating novel lines of thought and conceptual schemes. For the questionnaire three questions were formulated:
1. Artistic anthropology intends to produce novel models of relationality and connectivity. Could - Nam June Paik ...
This disjunct between reality and its illusory other, the world of privileged consumerism, was at the heart of the 6th Berlin Biennial. In the exhibition catalog, curator Kathrin Rhomberg wrote that there is a growing "gap between the world we talk about and the world as it really is." In an effort to close this gap, the Biennial wrestled with contemporary issues and realities far beyond the gallery walls - an all-too-rare impulse in the hermetic field of visual art.
Unfortunately, this Biennial may well have convinced many of its visitors that artists should stick to the studio; too many of the works lacked any nuance in their portrayal of external realities. There was a highly unpleasant video of a horse being knocked off its feet, subtly titled Problems with Relationship. There was Bernard Bazile's inept installation of shouty protest videos from Paris. There was Sebastian Stumpf running into private garages just as the doors closed behind him, Indiana Jones-style.
Yet there were also moments of brilliance along the way. At its best, the Biennial yielded keen insights into the conditions of contemporary capitalism and the relationship between the personal and the political. Without further ado, here are some of the highlights.
3 Minute Loop
A formal expansion of the artist's essay films, Deep Play brings together 12 different vantages on one of the biggest television events to emerge in the new millennium--the 2006 FIFA World Cup. The event, held in Germany, was reportedly seen by an estimated 1.5 billion viewers worldwide. Unfolding in simultaneous, real-time montage, Deep Play depicts the artist's own footage of the game, official FIFA footage, charts of player stats, real-time 2D and 3D animation sequences, and stadium surveillance, exposing the visual, informational, and technological design of these grand cultural spectacles. Though visually bombarding at points, the network of images and data stages a reprocessed disarticulation of spectacle, aptly pointing out the present conditions of visuality and its overwhelming influence on representation and subjectivity.
(Image sourced from Seventeen Gallery's exhibition "SCRATCH!")
I first discovered video artist George Barber's work via a review of his DVD BEYOND LANGUAGE on LUX by Ed Halter in Artforum last year. Associated with the Scratch Video movement, Barber's witty appropriation of mainstream movies and television as well as his fast-paced editing techniques resonated with many of the YouTube mash-ups I've seen, and his work was clearly pioneering for what has now become a fairly widespread approach. Today I will post up a number of Barber's videos, spanning the last few decades of his career.
Internationally renowned OFFF festival convenes in Paris, France, from today until the 26th at La Grande Halle De La Villette. Born from art collective/art agency Inofffensive, the festival stakes its claim as being the “vanguard of the avant-garde” for digital culture, with a simple mission - to earn “some money by doing commercial works and then spending it on crazy, commercially suicidal art projects.” In keeping this ethos, speakers/performers range: from French artist Patrick Jean, to street art bloggers Wooster Collective to former New York Times art director Steven Heller.
Befittingly, in its tenth year of inception, OFFF looks to reflect on the zeitgeist of nostalgia. Titling this year’s show “Nostalgia for a Past Future”, the festival hits upon a key problem for any designer that John Berger lays out in Ways of Seeing: the promise of the future sold by capitalizing on the longing for the past. Yet, heightened by the speed with which trend cycles move (and even more so with the speed of digital culture), for OFFF this issue is circumvented when we forgo trying to recreate narratives of the past and approach nostalgia as a tool for communication.
So, what can we expect?
In the Processing Pixels workshop, Daniel Shiffman looks to transform the treatment of pixels by reconfiguring the relationship between the coded information and its pixelated representation.
Patrick Jean will give a talk about his work in the Openroom. Inspired by the aesthetic of late 80s/early 90s video games, Jean has made a name for himself across the Internet with the video “PIXELS”.
Bleep Labs have come to the fore with its Thingamaboop instrument. Playful from inception, Thingmaboop, embedded with Arduino programming capabilities, is modulated by movement, light sensing LEDs, and is amenable to most synthesizers. In addition to a demonstration ...